I Gusti Nyoman Lempad

(b. 1862, Bedulu, Bali, Indonesia – d. 1978, Ubud, Bali, Indonesia)

I Gusti Nyoman Lempad, a towering figure in Balinese art, was born in 1862 and lived an extraordinary 116 years before his passing in 1978. His artistic journey began under the guidance of his father, I Gusti Ketut Mayukan, a revered Undagi—a master sculptor, architect, and painter responsible for works rooted in Balinese Hindu traditions. Together, they helped shape the spiritual and cultural landscape of Bali, constructing temples across Ubud and its surrounding villages. This early immersion in sacred craftsmanship endowed Lempad with a profound understanding of Balinese culture and an exceptional mastery of intricate form.

As his practice evolved, Lempad turned increasingly towards drawing, creating hundreds of linear ink compositions that distilled the vibrant essence of Balinese mythology and folklore. These works—distinguished by their fluid lines, delicate balance, and evocative storytelling—quickly drew international recognition, securing his reputation as a consummate visual narrator.

Lempad’s narratives spanned both the celebrated and lesser-known episodes of Indian epic literature, such as the Ramayana and Mahabharata, alongside local Balinese folklore. He often infused these scenes with subtle eroticism and humour, lending ancient tales a modern, relatable vitality. A pivotal turning point came in 1925 with his encounter with the German painter Walter Spies, whose introduction of anatomical study reshaped Lempad’s approach. His works began to emphasise movement, corporeality, and detail, echoing the refined aesthetics of wayang kulit, the revered Balinese leather puppets. In 1936, Lempad, Spies, and two other artists co-founded Pita Maha, a movement that fused Balinese artistic traditions with Western techniques, redefining modern Balinese art.

Beyond his ink drawings, Lempad was also a practitioner of prasi, the ancient Balinese technique of inscribing dried lontar palm leaves with images and text. Using ink made from the charcoal of burned candlenuts, he produced works defined by a restrained yet potent palette of black, white, and red. These three colours carried deep philosophical resonance in Balinese cosmology, symbolising Brahma (the creator), Vishnu (the preserver), and Shiva (the destroyer).

Lempad’s life remained deeply rooted in his community. He and his father were honoured with a plot of land by the Ubud Palace, affirming their place within Bali’s cultural heart. Until his death, Lempad maintained close ties with the palace and with the artistic spirit of Ubud. Today, his monumental legacy is preserved in institutions such as the Neka Art Museum, which holds one of the most significant collections of his works. His contributions stand as a cornerstone of Balinese art—timeless testaments to the island’s mythologies, philosophies, and living traditions.